Customer Reviews

Andrew

5 star:		(7)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(1)

 

 

The 1964 recordings of Andrew Hill for Blue Note are nothing less than complete revelation. Point of Departure and Dialogue have been available more or less for some time, but the recent release of Black Fire and now Andrew lends to the undeniable conclusion that the young pianist was fairly bursting with creativity and talent to burn.

Andrew features are very interesting line-up, including a very sympathetic Richard Davis on bass and the always compelling Bobby Hutcherson on vibes. But the real surprize here is lifelong Sun Ra tenor giant John Gilmore. Hearing him in this small group is startling, if for no other reason than it is virtually impossible to distinguish his tone and angular runs from that of John Coltrane's transitional period a year later.

But Andrew, more than the other blue notes, is unmistakably the pianist's record, as he solos long and hard with the group staying mostly in support. The compositions are more personal, and a little introverted. It takes a few listens for them to start to dig beneath the skin.

Can't wait for Smokestack and, especially, Compulsion, which also features jazz's most reticent reed hero.

Andrew Hill is the most original pianist and composer in Jazz since Thelonious Monk and this recording, along with Andrew's "Point of Departure" is one of the greatest dates in Blue Note's catalogue during the 60's. Bassist Richard Davis understands Hill's conception like no other and John Gilmore, who is one of the greatest tenor saxophonist in the history of modern Jazz, never played better, with or without Sun Ra. There is no weak link in this date.

Latest in the amazing series of reissues from Andrew Hill's 1960s Blue Note catalogue. This was one of the six albums recorded during 1964 (though it wasn't released until 1968.) What is astonishing is not just that Hill was so prolific but that each album consists entirely of original compositions, all rigorously arranged and played (no extended jamming or interminable free blowing here...) Moreover each album has its own special angle & line up. If you've been following this series so far you won't need any recommendation to snap this latest up. All you might want to know is what the special angle is this time. The answer is that you have six compositions plus a couple of bonus alternate takes, all of which tend towards Hill's more cool, abstract side. The line up is Hill-piano, Richard Davis-bass, Joe Chambers-drums, Bobby Hutcherson-vibes, John Gilmore-sax. Yes that's right, John Gilmore as in the Sun Ra legend. After listening to Gilmore for years in lo-fi Saturn weirdness, it's a pleasure to hear him in post-bop mode cleverly negotiating Hill's complex arrangements, all captured in a pristine Blue Note recording by that nice Mr Rudy Van Gelder.

Here is one of the most underrated sessions in all
of Jazz, led by one of the finest artists in all
of Music. Anyone interested in why pianist Andrew
Hill resonates in the ears and memories of legions
of longtime progressive listeners for a good half-
century are invited to purchase ANDREW!, and be
thoroughly enlightened.
Hill's mastery of polychromatic harmonics, coupled
with a wonderfully deep mastery of The Blues, marks
the Midwesterner as one of the finest composers
around, and a deadly soloist, to boot. His
compositions carry that elusive, tonally elliptical
quality which is shared by the likes of Monk and Sun
Ra. Ask the musicians who have played alongside him -
you either know and respect the piece you're playing,
or it will take you out!

Highly deadly, always with a winsome stroll that
always swings, even at its most freewheeling
moments, Hill's artistry is only now being
perceived as the stuff of genius that it has
always been. Unlike many of his compartriots,
Hill has not only endured the decades of
critical indifference, but has prevailed and
reaches new pinnacles of mastery and audience
appreciation, even now.

From 1964, ANDREW! is a splendid place to
discover the man's musical magic. The Blue
Note CD also features a scintillating Bobby
Hutcherson on vibraphone, the ever-conceptual
Joe Chambers on drums, Richard Davis stirring
lyrical rhythmatics on bass, and the amazing
John Gilmore whipping up grand rhapsodies
on the tenor saxophone. One of a precious
few non-Sun Ra recordings made by the tenor
titan, Gilmore strikes a wonderful bond with
Hill's kindred daring, and finely-honed skill.

The group is most expressive, finely-
textured and hard-hitting, sensitive
to every nuance of every groove. This
is the Jazz exploration which the
1960s refreshed the traditions with.
It still offers much.
Listen to the charm and wisdom of "The
Griots", or the grace and deadly
invocation of "Le Serpent Qui Danse",
and you will be enchanted into a finer
caliber of healing song.

Want more? Be patient.
Your journey has only begun...

Recorded on 6/25/64, Andrew!!! is comprised of Andrew piano & compositions, John Gilmore tenor saxophone, Richard Davis bass, Bobby Hutcherson vibraphone and Joe Chambers trap drums.

Both as one of Andrew's and Blue Note's best albums, this is worth all the time and consideration you can give it. If you only know Gilmore from Sun Ra, or if you don't know Gilmore because of Sun Ra, here's your chance to hear him in a setting that's less controversial than another of Andrew's classics, Compulsion, and better sonic quality than almost (or maybe all) all Sun Ra anywhere ever. Man does Gilmore GET IT. He and Dolphy (and Sam Rivers, though Change feels more like a Sam Rivers album than an Andrew Hill) are, for me, the 2 best saxophonists with whom Andrew worked. A couple of Hill's other albums would be even better had Gilmore again been called upon.

As previous reviewers have mentioned, this is one of the premiere albums for Hill's own piano playing. On some of the albums he seems more like an equal band member in terms of soloing time. On those, it's the compositions that make it his album. Here though, we get some of his longest uninterrupted passages of piano playing, and some fantastic, broken, introverted, feeding on itself playing it is. Just get it. You know you want to. This is as fine a band as he ever assembled.

This is one of my favorites of the early Blue Note series. Though the tunes aren't as memorable as on Black Fire, I prefer this session for it's overall chemistry. The performance of Joe Chambers is excellent. He has the intensity of Haynes, and sensitvity of Williams though is not as frantic as either. Both takes of Symmetry are outstanding. I just picked up Timelines last Tuesday and it makes me happy that Andrew is still making beautiful and challenging music. Can't get enough ANDREW!!!
Is Compulsion getting a reissue?

This record was extremely hard to find for a very long time unless you bought the long OOP (and now very expensive and rare)Mosaic box-set. In fact, I think this is the very first time Blue Note have reissued it. Most people have Point of departure as their favourite Hill record, probably because it features Dolphy and Tony Williams, but the compositions on this one (and Judgement too for that matter) are stronger IMO and it's great to hear the AMAZING John Gilmore outside of Sun Ra's band. Gilmore was just as good as coltrane (well, almost) but due to the fact that he almost only appeared on Sun Ra-albums after the fifties meant that he had no chance to become well-known to people outside of Sun Ra's audience. And Bobby Hutcherson was just mind-blowing in this era and gave every record he appeared on a totally distinct sound. Richard Davis appeared on all early Hill records and is probably my favourite bassist of the sixties... And don't get fooled by the relatively low grade, the guy who gave it one star made a mistake which is obvious if you read his review...

This is one of my Top Ten albums. Bought it in 1968 when it came out. It was cut out almost immediately and disappeared until now. Hill sounds so relaxed, Hutcherson is Bobby, Richard Davis is amazing, Chambers plays like the pro he was/is and there is Gilmore! The Legendary John Gilmore!!!!

Why this did not become known as one of the great 20th century masterpieces, could only be because we barely had a chance to hear it, due to its brief presence on the market. First of all you have tenor saxophonist John Gilmore (he's considered to be a key influence on John Coltrane). The album is worth hearing for this reason alone, yet he is not positioned "in front" in the typical way horns are placed, he's lending his voice in service of Andrew Hill's compositions. You also hear a Joe Chambers sounding ahead of his time, matching or exceeding his peers on the drums in terms of imagination, innovation and sophistication. Mr Hill's harmonic colorations on the piano do their job in a painterly fashion, serving his music and calling to you emotionally, without merely jumping out saying "I am different!". In this group neither do you hear ostentatious displays of splashy fireworks nor do you hear the sound of "greats" or "all stars" resting on their laurels. The music demonstrates greatness on a meritocratic basis. You hear the spirit of collaboration at its finest. Witness how bassist Richard Davis seems to feel most relaxed and at home in a collaborative creative environment. Of the many many recordings I have heard since that time, this one has made and maintained among the deepest impressions even after 3 decades. I was taught that originality is one of art's most important facets and here is one of the best kept secret examples of that principle. This album deserves a place among the era's much better known recordings.

Last year it was Passing Ships and this year another gem finally makes it to CD. This is an adventurous, yet melodic and playful recording. Andrew Hill was one of the best composers to emerge in 60s and he's accompanied by a sympatico crew. Bobby Hutcherson was a frequent bandmate and he makes his usual splash on vibes. Richard Davis was a go-to guy on bass and you'll here why on this recording. He provides excellent support and gorgeous solos. Joe Chambers on drums is another of this group's strong composers. Although less renowned than some of the other stellar drummers on Hill recordings- Jones, Haynes, Williams- he is more attuned to the music. And the bonus is the documentation of John Gilmore's ext-RA excursions.